Posted 28 June 2010 - 12:41 AM
Preminger plays a trick on us when Laura turns up at her apartment and boy how I fell for it. It's the camera move that makes us think Mcpherson's fallen asleep and that he's merely dreaming Laura's alive. It's the sort of thing that makes me go: dang, too bad it's a dream because the movie makes Laura so damned likable. It's a testament to the subjectivity of movies that the audience can become so infatuated with Laura, just as the characters in the movie are. I guess we could call her a femme fatale, but not the same type as Kathie Moffat or Phyllis Dietrichson; they were sexy, seductive women but we knew they were badówe just didn't care too much. Here, I'm not so sure. Laura seems to broaden my conception of the femme fatale archetype. Men are still throwing themselves at her and doing foolish things for her sake, it's just that she isn't a rotten apple. Whatever. Bravo Gene Tierney, bravo.
Posted 28 October 2010 - 01:33 PM
This movie ranks up there with Out of the Past as far as great noir goes.
Posted 28 October 2010 - 04:24 PM
Posted 28 October 2010 - 04:46 PM
Really, though, I loved every performance in the film. Vincent Price's (gay?) ladies man really steals every scene he's in. The dialogue is all absolutely wonderful too. The entire film works on its own internal logic, and it's really bizarre. Andrews finds the murder weapon, and then puts it back in its hiding place, deciding that he'll "pick it up in the morning". That's good detective work!
Posted 26 April 2011 - 01:54 AM
For anyone keeping score at home, that will mean that, between the US and UK, only Centennial Summer, Forever Amber (available in Spain), The 13th Letter, Porgy and Bess, Tell Me That You Love Me, Junie Moon, and The Human Factor (available, I think, in France) will be unreleased of Preminger's post-Laura work. (Plus That Lady in Ermine, which became a collaboration with Lubitsch who died before completing the movie.) I suppose that's still quite a few but the upcoming three from Olive remains a decent-sized dent.
Posted 19 February 2013 - 05:02 PM
This was my third viewing at least, with none of the plot registering any surprises by this point, and I was still enthralled. Particularly fascinating to me is how Andrews plays his character. It's easy to remember the notion that he falls for the supposed victim of the murder he's investigating but what sometimes can get overlooked is the way it all occurs. There's no big "aha" moment or anything so forced. It all occurs gradually, with the viewer sort of figuring it out for himself. Even then it still has to grow more and more clear that he's become too attached to Laura (or the idea of Laura or the painting or whatever). But never does Preminger build undeserved drama out of it. It seems to exist largely in the subtext of what's happening.
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